A Life of Her Own (1950)

So much average

Fantastic!

The film may be flawed, but its message is not.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

George Cukor was a well-know, good director who helmed films such as The Philadelphia Story, Born Yesterday and the last film John Dillinger saw, Manhattan Melodrama. This turkey, with Ray Milland, Lana Turner and Tom Ewell (recently on TCM) was laughable in its portrayal of a model on her way up in NY and the tawdry romance with a married man (Milland). Of course they toss in Milland's wife, who just happens to be crippled with no use of her legs (she does walk haltingly for a moment with two canes) to play on the sympathy of a woman wronged, though that plot line goes no where. To say this is a bad film is an understatement. Turner looks overweight and her costumes don't do her any favors either. The dialogue is stilted, stupid and overwrought; I would lay most of the blame on the screenwriter for this silly, pretentious and altogether forgettable movie.

A Life of her Own displays an array of talent, but falls short, in part because the primary characters are not likable enough for us to care that much about what happens to them.The story is intriguing, though. The situation the characters are involved in is a classic one. Most people can relate to it. But the story does not seem focused enough; other subplots and diversions distract from the central drama.But does the film really know that the central drama is? Is it about the couple? Or the woman? Or the triangle? Is it about the questions of values? Or feelings? When we reach the end, after some out-of-left-field pontificating and amateur psychologizing, what finally was the central question? Notes on this site indicate that the ending was changed because it was unpopular. But without a clear focus, how could this story resolve with a clear message or with clear intent? And how much can you really care about a character that is emotionally damaged if she never really shows any growth or change?

As other reviewers have noted, the first 15 or 20 minutes of this film are quite watchable -- energetic, lots going on, well photographed. But when Ann Dvorak starts getting plastered, the speechifying starts, and there isn't one honest note that follows. It all becomes very overwrought, with ridiculous, exposition-filled dialog...and some pretentious speech making at the end. When Ray Milland enters the story, it basically becomes a poor remake of "The Divorcée" with the last act pretty much identical -- possible spoiler here -- with his wife revealed as a cripple in a wheelchair. There is zero chemistry between Turner and Milland. Milland is totally miscast, which doesn't help. Don't be fooled by the fact that George Cukor directed this because it's a pretty awful film, made worse by the fact the expectations you have given all of this A-list talent.

Lana Turner goes into the modeling world hoping to get discovered. Along the way, she meets Ray Milland, who's a married man, and of course they start having feelings for each other. Ann Dvorak (from Paul Muni's "Scarface") is great in a supporting role. In fact, some would say she steals the show, because the viewer thinks of her even when she's not on the screen, due to circumstances I'm not going into. Barry Sullivan, who was frequent costar of Lana's, is on hand with his shoulder for Lana to cry on.For such an unknown movie of Lana's, one would think is just a hum-drum black-and-white movie. But, "A Life of Her Own" is a very well-written and insightful film which provides a mature approach to a woman's life at an older age, who is trying to find herself and what she really wants out of life, and what she doesn't want.An added plus which most reviewers have already alluded to, is the great music score to this film. It makes Ray and Lana's scenes feel very intimate. But when reality hits and she meets the wheelchair-bound wife. it does get rather depressing and downbeat. But the ending is very soothing, as she "is herself" with Barry and visits the view one more time of Ann Dvorak's old apartment building and where she doesn't want to wind up. It's a shame to think only Lana fans would be attracted to this film. It's one for all those who want something intelligent and for people, who though older and not quite settled, are still yearning for "a life of their own."